• Mar 31 2017 | 9:00 pm

    Elastro: Radio Trio, Stephan Moore/Ed Osborn, Norman W. Long

    Elastro Electro-Acoustic Series presents: Stephan Moore & Ed Osborn, Radio Trio, Norman W. Long

Radio Trio: Alex Inglizian, Ben Lamar Gay, Will Faber

“The poet is a counterpunching radio” – Jack Spicer

In this trio we are performing with and alongside radios: as material, signal, sign, source, and interference.

In this improvising situation radios provoke a number of conditions and possibilities, both structural and symbolic: they amplify wavelengths that surround and pass through us; inject sounds of the wider world into the performance space, offering patterns of language, voices of the news, advertisements, and sports scores; DJ’s who talk in and through the music; the layering and simultaneity of song and static, the familiar and the indeterminate; they enfold listening into playing and modulate matters of intention, choice, and agency.

Will Faber- guitar, electronics
Ben Lamar Gay- cornet, electronics
Alex Inglizian- keyboards, electronics

In addition to Radio Trio, all three musicians also work together in the ensemble El is a Sound of Joy.

Stephan Moore is a composer, improviser, audio artist, sound designer, teacher, and curator based in Chicago. His creative work currently manifests as electronic studio compositions, solo and group improvisations, sound installation works, scores for collaborative performance pieces, and sound designs for unusual circumstances. Evidence, his long-standing project with Scott Smallwood, has performed widely and released several recordings over the past 15 years. He is the president of the American Society for Acoustic Ecology, and is a member of The Nerve Tank, a canary torsi, Composers Inside Electronics, and the Wingspace Theatrical Collective. He toured for several years as a musician with the Merce Cunningham Dance Company, and has worked with artists as diverse as Pauline Oliveros, Anthony McCall, and Animal Collective. He is a lecturer in Sound Art and Sound Design in the Department of Radio, Television and Film at Northwestern University. http://oddnoise.com


Ed Osborn‘s sound art pieces take many forms including installation, sculpture, radio, video, performance, and public projects. His works combine a visceral sense of space, aurality, and motion with a precise economy of materials. Ranging from rumbling fans and sounding train sets to squirming music boxes and delicate feedback networks, Osborn’s kinetic and audible pieces function as resonating systems that are by turns playful and oblique, engaging and enigmatic. Osborn has performed, exhibited, and lectured, and held residencies throughout the United States, Canada, Europe, Australia, New Zealand, and South America. The recipient of many awards including a DAAD Artists-in-Berlin Stipendium and a Guggenheim Fellowship, he is an Associate Professor in the Visual Art Department at Brown University.

Norman W. Long –  solo computer/synthesizer/video projection

is a local sound artist/designer/composer born and raised on the South Side of Chicago. He has exhibited and/or performed in galleries in Chicago, Ithaca, New York, London, Oakland and San Francisco, CA. His current work focuses on sound art production within the larger context of landscape. The processes involved in his practice lie within the area of field recording, electro-acoustic composition and dub technique.


Big Marsh (After Burn): Within the South Deering neighborhood lies a marsh area called “Big Marsh”  that the Chicago Park District is in process of ecological restoration and Van Vlissingen Prairie a natural area between a rail yard and majority African American residences on the south east side of Chicago.The field recordings explore the sonic industrial remnants and well as the recovering biophony of Big Marsh after it had undergone a controlled burn. My expectation, as the site is restored via soil remediation, removal of invasive plant species, and introduction of native species the soundscape will also change incrementally. Van Vlissingen Prairie recordings come from contact microphones placed within the scorched earth of a previous burning and field recordings. These sounds will be mixed with analog synthesizers weaving in and out of the post industrial noise coming from the adjacent rail yard, local residences and the local ecology of birds and singing insects. This performance w/ video challenges notions of landscape by bypassing the pictorial and the beautiful, defining landscape by what it does, how it sounds and exposes how landscape is a complex matrix of networks. By challenging the traditional way of documenting and defining landscape we begin to listen to how soundscapes are shaped along with our relationships to the spaces we inhabit.